Choral Choir (SSA) - Level 4 - Digital Download SKU: A0.768516 Composed by Camille Saint-Saens. Arranged by Roar Kvam. Christian,Christmas,Romantic Period. Octavo. 144 pages. KVAMusic Edition #6078593. Published by KVAMusic Edition (A0.768516). Charles-Camille Saint-Saëns (9 October 1835-16 December 1921) was a French composer, organist, conductor and pianist. He was a musical prodigy and made his concert debut at the age of ten. After studying at the Paris Conservatoire he followed a conventional career as a church organist, first at Saint-Merri, Paris and, from 1858, La Madeleine, the official church of the French Empire. After leaving the post twenty years later, he was a successful freelance pianist and composer, in demand in Europe and the Americas. As a young man, Saint-Saëns was enthusiastic for the most modern music of the day, particularly that of Schumann, Liszt and Wagner, although his own compositions were generally within a conventional classical tradition. He was a scholar of musical history, and remained committed to the structures worked out by earlier French composers. This brought him into conflict in his later years with composers of the impressionist and dodecaphonic schools of music; although there were neoclassical elements in his music, foreshadowing works by Stravinsky and Les Six, he was often regarded as a reactionary in the decades around the time of his death. He wrote the Oratorio de Noël (Christmas Oratorio) at the end of the 1850s and completed it in 1860. The first performanse was at the church La Madeleine in Paris December 1869. The work is dedicated to A Madame la Vicomtesse de Grandval. The work is originally scored for five soloists, soprano, mezzo-soprano, alto, tenor and baritone, mixed choir (except no. 4 which is for SSAA), harp, organ and strings (in this edition the choir has been transcribed for a SSAA choir). Texts in the Oratorio de Noël is drawn from the Old and New Testaments: (1. Instrumental).    2. Luke 2,8-14.   3. Psalm 39,1.   4. John 11.27.   5. Psalm 117, 26-28.   6. Psalm 2,1 and Gloria Patri.   7. Psalm 109,3 and Graduale.   8. Isaiah 49,13.   9. Lamentations 2,19, Mica 4.13, Zachary 9,9, Isaiah 62,1.   10. Psalm 95,8-9, 11,13.

Choral Choir,Choral (SATB) - Level 4 - Digital Download SKU: A0.1311956 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Christian,Praise & Worship,Religious,Sacred,Spiritual. 3 pages. Kevin G. Pace #900848. Published by Kevin G. Pace (A0.1311956). An attractive, sacred hymn with music by Kevin G. Pace and text by Mary Ann W. Snowball.Text:How Can I Be Like Christ?“Come, follow Me . . .� (Luke 18:22)How can I be like Christ while on the earth?How can I live His ways and heed His words?How can I love the same as He loves me?How can I be aware and help those who plead?Follow His ev’ry step; go where He leads.Love ev’ry friend alike, or enemy.Lighten each burden shown from suff’ring souls.Shepherd them to His side; He will make each whole.How can my walk through life show God I care?Will others know to trust so I can share?How do I reach each one when in a crowd?Can I still help these souls ev’n though sin abounds?Follow His ev’ry step; go where He leads.Give of your meager store when one’s in need.Search for the lonely heart with eyes attuned.Loving each child of God can diminish wounds.How can I be like Christ, ev’n as I am?He gives sure promises; I am His lamb.As I go where He leads, gath’ring His souls,My love will shepherd them where Christ makes each whole.

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1126251 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Children,Christian,Christmas,Religious,Sacred. Score. 3 pages. Kevin G. Pace #726952. Published by Kevin G. Pace (A0.1126251). A lovely, Christmas song for children. Music by Kevin G. Pace and text by Mary Ann W. Snowball. Text: I wonder on that Christmas day, when Baby Jesus slept on hay, If He dreamed the world would sing sweet songs about the love He’d bring? I wonder when the star shone bright if sheep were startled by the light? Did the shepherds stop and pray to find where Baby Jesus lay? I wonder if the cattle stirred when cries from Jesus could be heard? Did his mother wrap him tight and sing to Him throughout the night? I wonder when the wisemen came, if they were told the Baby’s Name? Were the precious gifts they brought then used by Jesus as He taught? I wonder on that Christmas day, when Baby Jesus slept on hay, If He knew He’d grow to be God’s greatest gift for you and me? I wonder if dear Joseph stayed with Mary to give needed aid? Did he feed the donkey there, or give sweet Mary all his care?

Jazz Ensemble Jazz Ensemble - Level 4 - Digital Download SKU: A0.948697 Composed by Mark S. Massey. Blues,Jazz. Score and parts. 3 pages. Geofonica Artistworks #6038029. Published by Geofonica Artistworks (A0.948697). Professor M & M's Jive Detector is a super cool, very bluesy instrumental jazz hit (in lead sheet format here) from pianist Mark Massey's breakthrough jazz LP: API: Acoustic Piano International. (NOTE: A Bb leadsheet is also available.) The piano and tenor sax interact, with sax and piano doubling the main melody (performed by guest saxophonist Plas Johnson--famed Wrecking Crew sax/woodwind player who was featured on The Pink Panther Theme), plus sax and piano in blues interplay and counterpoint. It's a great vehicle for musical interplay, blues/jazz improvisation, and laid-back bluesy rhythm section grooves. The API track features Plas Johnson on sax backed by the Mark Massey trio, with Eric Stiller on acoustic bass and Aldo Bentivegna on drums.ABOUT MARK:In 2018, the California State Assembly and the Los Angeles County Board of Supervisors issued proclamations recognizing Mark Massey as a Jazz Living Legend. Jazz pianist-composer Mark Massey was born and raised in Lynwood, California, where he showed early talent on piano, trombone, and drums. During high school, he studied classical piano and played in the bands Synopsis (with future trumpet giant Wayne Bergeron), and Sabor (with Poncho Sanchez and the Banda Brothers). Mark played in the Pico Rivera Stage Band, which won First Place at the Hollywood Bowl Battle of the Bands. Mark graduated from California State University, Long Beach (with Bachelors and Masters degrees in Music), where he was recipient of the Carmen Dragon Fellowship for composition and he was dubbed A Young Giant by the National Association Of Jazz Educators. Mark has performed throughout the U.S., Europe, the former Soviet Union (in the 1980s), Russia (2001), the Far East and India. He has worked with Larry Carlton, David Benoit, Paul Horn, Hubert Laws, Louie Bellson, the Side Street Strutters, Phil Upchurch, L. Subramaniam, Freddie Hubbard, Maynard Ferguson, Yehudi Menuhin, Stéphane Grappelli, and Tony Williams. Mark was featured in The Four Pianos In Concert series along with pianists Paul Smith, Pete Jolly and Steve Allen. Mark Massey's debut CD, Acoustic Piano International, has received wide airplay on jazz radio. API featured nine of Mark's original jazz compositions--including Professor M&M's Jive Detector, offered here--inspired by his musical excursions around the globe, along with Eric Stiller (bass) and Aldo Bentivegna (drums), and guest artists Alex Acuña, percussion (Weather Report), Justo Almario, flute (Mongo Santamaria), Plas Johnson, tenor sax (The Pink Panther Theme), Bob Mintzer, soprano sax (The Yellow Jackets), and Ron Stout, flugelhorn, More recently, Mark has been recording his iconic Jazz Thoughts for the Day albums of original jazz improvisional compositions for each day of the year. Jazz Thoughts for the months of January through July have thus far been released. COMMENTS FROM MAJOR CRITIC REVIEWS OF MARK MASSEY: Mark Massey is awfully good. His friendly, lyrical, melodic piano has a sound unto itself, bop and post-bop influenced, contemporarily informed, and languishing solidly in the modern mainstream. ...This is a very good trio that is together in many aspects of jazz expressionism. In larger, more interactive settings, Massey proves he has ideas that work well. ...Massey's talent being exposed is a breakthrough. A majority of jazz listeners should find this a worthwhile purchase, and a keeper.  Recommended.----MICHAEL G. NASTOS, ALL MUSIC GUIDE (CD review of Acoustic Piano International) Mark Massey is an excellent straight-ahead pianist who often appears in the L.A. area. ...his playing is consistently appealing. Of the trio numbers, the often-introspective Flowers For Dorothy, the heated Limejuicer Blues, and .

String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1224449 Composed by Wolfgang Amadeus Mozart. Arranged by Kamada, Mikio. Classical. 11 pages. ACORDO Sheet Music #820552. Published by ACORDO Sheet Music (A0.1224449). Papageno and Tamino face the ordeals. Tamino is able to overcome them one by one, but Papageno struggles because he lacks the mental strength to do so. When Papageno tells Sprecher that he would be happy with just some wine, Sprecher asks if he has any other wishes. Papageno says he didn't have any before, but then he thinks of something else he wants and starts singing a song about it. The song says that it feels good to eat and drink delicious things, but Papageno is lonely and wants a cute girl or a wife. Papageno plays a musical instrument called a Glockenspiel while singing. This instrument is different from the modern Glockenspiel and is a keyboard instrument that strikes metal plates. In this arrangement, all the parts take turns playing the melody so that all the performers can enjoy it.

Treble recorder and basso continuo (cello ad libitum) - easy to intermediate - Digital Download SKU: S9.Q16247 Composed by Robert Valentine. This edition: Sheet music. Original Music for Recorder. Downloadable. Op. 3. Schott Music - Digital #Q16247. Published by Schott Music - Digital (S9.Q16247). Robert Valentine, born in Leicester around 1680, was one of the few English masters of Baroque music who achieved fame and enjoyed a high standing beyond the borders of his home country instead of within. He made his fortune in Italy where he seemed to have spent most of his lifetime. It is assumed that he returned to England in 1731. He died at an unknown place around 1735. Valentine was a talented composer. Apart from some concertos, he mainly wrote and published solo sonatas, trio sonatas and duets, works who clearly show his preference for the flute, he himself being a flutist.

Voice and piano - Medium - Digital Download SKU: MQ.8492-36E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - Digital #8492-36E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-36E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).

Cello,Piano - Level 2 - Digital Download SKU: A0.548673 Composed by Adam. Arranged by James M. Guthrie, ASCAP. Christmas. Score and part. 10 pages. Jmsgu3 #3410433. Published by jmsgu3 (A0.548673). Cantique de Noël The French composer Adolphe Adam was already famous as a composer of many successful ballets and operas. Then, in the 1840s, he wrote his most famous work - O Holy Night. The original song title was Minuit Chretiens or Cantique de Noël.  Placide Cappeau provided the original song lyrics. The song was first performed in Roquemaure by the opera singer Emily Laurey at midnight mass in 1847. It became very popular among the French, much like Silent Night was famous elsewhere. In 1850, John S. Dwight, a Unitarian minister and music teacher, translated the song into English.   Adolphe Adam Adam studied organ and composition at the Paris Conservatoire in his younger years. He also played the timpani in the Conservatoire orchestra. Adam used his savings and borrowed money to open a new opera house - the fourth opera house in Paris in 1847. Unfortunately, the Revolution of 1848 forced him to close. He taught composition at the Paris Conservatoire from 1849 until he died in 1856. Placide Cappeau The poet Cappeau was an advocate of the French Enlightenment philosopher Voltaire. Voltaire was renowned for criticizing the Catholic church, religious intolerance, and dogma in general. Consequently, Cappeau made the Redeemer figure in his song a kind of reformer of injustices, particularly the problem of original sin. To begin with, people recognized Cappeau's theology as eccentric, probably even doubtful. Theology In the earlier form of Minuit, the Christ figure descends to intervene with His Father's plan to punish humanity. Traditional doctrine pronounces that Christ came from love, not to intervene. This version also declares that Christ appeared to delete the original sin of Adam. Cappeau removed this part from his poem years later because he didn't believe it. He preferred to portray Christ as the reformer of disparity and unfairness. Before long, the writer/politician Alphonse de Lamartine called the Minuit the Marseillaise of religion. Most French churchmen agreed with this idea but did not consider it a tribute.    

Voice and piano - Medium - Digital Download SKU: MQ.8492-32E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 8 pages. E. C. Schirmer Music Company - Digital #8492-32E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-32E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).

Voice and piano - Medium - Digital Download SKU: MQ.8492-08E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - Digital #8492-08E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-08E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.918173 Composed by Christy L'Esperance. Christian,Praise & Worship,Sacred. Score. 4 pages. Christy L'Esperance #6427961. Published by Christy L'Esperance (A0.918173). This 4-verse responsorial psalm setting of Psalm 33 By the Word of the Lord the Heavens were Made is appropriate for use within the Catholic Mass. This arrangements sets verses 2-9 from Psalm 33:1.Give thanks to the Lord on the harp; with the ten-stringed lyre chant his praises. Sing to him a new song; pluck the strings skillfully, with shouts of gladness.2.For upright is the word of the Lord and all his works are trustworthy. He loves justice and right; of the kindness of the Lord the earth is full.3.By the word of the Lord the heavens were made; by the breath of his mouth all their host. He gathers the waters of the sea as in a flask; in cellars he confines the deep.4.Let all the earth fear the Lord. Let all who dwell in t he world revere him. For he spoke, and it was made; he commanded, and it stood forth..

Voice and piano - Medium - Digital Download SKU: MQ.8492-33E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 8 pages. E. C. Schirmer Music Company - Digital #8492-33E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-33E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).

Instrumental Duet Flute,Instrumental Duet,Violin - Level 4 - Digital Download SKU: A0.592141 Composed by David McKeown. 20th Century,Concert,Contemporary,Halloween,Standards. Score and parts. 4 pages. David McKeown #6354229. Published by David McKeown (A0.592141). Frankie the Frank Frankenstein is a fun and original duet written by David McKeown for one Flute and one Violin. Frankie the Frank Frankenstein is one in a series of ten Halloween-themed duets each presenting a portrait of a different Halloween character. All ten can be bought together in one collection by searching for 10 Spooky Halloween Duets for Flute and Violin.Frankie is a straightforward kinda monster. He tells it as he sees it; he likes to speak his mind. Unfortunately, he is constructed from so many and various spare parts that he isn’t always entirely sure which eyes he saw it through, which mind to believe, or indeed from which mouth to say it. Frank the Frankie Frankenstein is suitable for players at an advanced intermediate level and above, with the accessible key and range balanced by the changing styles and tempo and some syncopated rhythms. With a playing-time of around three and a half minutes, Frankie the Frank Frankenstein is a perfect upbeat addition to any performance program, formal or informal. Click the link above to listen to a full performance of the clarinet version of this duet on YouTube.To keep up with new titles, search for Dave McKeown Sheet Music Downloads on Facebook.There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203

Guitar,Piano,Vocal,Voice - Digital Download SKU: A0.893867 Composed by David Kai. Country,Folk,Pop. Score. 2 pages. David Kai #6140181. Published by David Kai (A0.893867). LEAD SHEET IN DA fun song about a famous symbol of Newfoundland - the Newfoundland dog.You Can’t Tell a Newfie     words and music by David Kai ©1990 No you can’t tell a Newfie a thing he should do, To sit or to stay or to come back to you He’s hairy and slobbery, as strong as a horse, It’s the Newfoundland dog that I sing of, of course. He’s the kind of a dog that will never be scared, For to serve and protect he was bred and prepared And there’s many a swimmer whose life has been spared, By the Newfoundland dog, who’s like a lifeguard with hair.  But you can’t tell a Newfie a thing he should do, To sit or to stay or to come back to you He’s hairy and slobbery, as strong as a horse, It’s the Newfoundland dog that I sing of, of course. You can hook up a Newfie to a cart or a sleigh, It will bear all your burdens, not tiring all day It can carry a line from a boat to the land, To rescue the perishing, saving all handsBut you can’t tell a Newfie a thing it should do,To sit or to stay or to come back to you It’s hairy and slobbery, as strong as a horse, It’s the Newfoundland dog that I sing of, of course. She is strong but so gentle, a real teddy bear, But there won’t be a place where you won’t find her hair She will care for the children, watch them just like a Mum, And keep them in safety ‘til labours are done But you can’t tell a Newfie a thing she should do, To sit or to stay or to come back to you She’s hairy and slobbery, as strong as a horse, It’s the Newfoundland dog that I sing of, of course. It’s the Newfoundland dog that I sing of, of course.

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.807035 Composed by Glen Poehlmann. Christian,Sacred. Octavo. 6 pages. Arrangements by GPoehlmann #6217357. Published by arrangements by GPoehlmann (A0.807035). I BELIEVE - SATB CHOIR (div) with Piano AccompanimentYou only need to purchase one copy of this composition and you may make copies as needed for one organization.69 measures.   Performance Time approx. 3:06.   Key: D - Eb - F.  Meter: 4/4.   Medium in Difficulty.   (Grade 3)I believe in the Father who made all that we see andI believe in His only Son who came to set us freeI believe in the Holy Ghost, the TrinityI believe, I believe.I believe He came to earth born in a cattle stallIt wasn't a birth place for a King not for anyone at allI believe that He lived His life for us to seeI believe, I believe.I believe He was crucified to take away my sinsHe suffered and He died for us, a perfect sacrificeThen He rose triumphantly to reign forevermoreI believe, I believe. Amen